Tutti - Fall 2008

tutti. (it.) all. every musician to take part.

INSIDE New Directions: Meet New School of Music Director David Myers Concert Season Highlights and Fall Foldout Events Calendar The Latest Faculty, Student, and Alumni News

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Fall 2008 | Volume 10 | Number 1

Cover photo: Kelly MacWilliams/Table of contents photos: Kathy Easthagen, Greg Helgeson, and Les Koob

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contents fall 2008

James Parente

Interim Dean, College of Liberal Arts

Jerry Luckhardt

Interim Director, School of Music

Lisa Marshall Editor

Jennifer Schmitt Graphic Designer

Jenni Hielke

Graphic Design Intern

Tutti is the magazine of the University of Minnesota School of Music and is published yearly. It supports the school’s community of students, faculty, staff, alumni, and friends by providing information that highlights events, developments, and trends within the school, connects the school’s many constituencies and celebrates the achievements of the school’s community.

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Greetings

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Great Partnerships

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Fall Event Highlights

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Faculty Features

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Student Features

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Season Highlights

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Alumni Outreach

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See & Be Seen

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School News

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Time Capsule

PLUS: Foldout Fall 2008 Events Calendar

From the New Director: David Myers

Sir Neville Marriner

The Book of Elements

Musical Bridges: Young Nam Kim Honoring Lawrence Weller New Directions: David Myers Thinking About Harmony: David Damschroder

Thoughts on Performance: Andrew Staupe Great Collaborations: Artistic Jouneys

2008 Collage Concert with Osmo Vänskä 2008/2009 Opera Season

Art for Change: The Alchemy Project Help Us Develop the Next Generation: Ann Ulring

A Photo Journey Through 2008/2009

Faculty News In Memoriam: Mirjana Lausevic and James “Red” McLeod Staff News Student News Alumni News

Ferguson Hall Groundbreaking

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Photo: Kelly MacWilliams

Dear Friends and Colleagues, It is a deep privilege to extend warm greetings to all who comprise our School of Music community. During my transition to the University of Minnesota and the Twin Cities region, I have been reflecting on the fact that each of us belongs to many different communities.

Raymond Williams once described community as a “warmly persuasive” term. (Keywords, 1973) I like this description because it goes beyond physical proximity and common interests to suggest qualities such as openness, transparency, respect, reciprocity, and dialogue. A warmly persuasive community embraces the inevitable tension between individual needs and achievements and a collaborative vision for the quality of life among a broader citizenry.

In this light, I am eager to engage in inclusive and purposeful conversations across the School of Music community—faculty, staff, alumni, university colleagues, friends, and steadfast supporters. I look forward to considering our individual and collective visions and their value to diverse communities in and beyond the uniI especially want to offer heartfelt thanks versity. I anticipate to Professor Jerry Luckhardt, who has thinking together been a tireless interim director. Jerry, about stewardship the school’s staff and faculty, and Dean of the school’s legacy Parente and his staff in the College of and how we may best Liberal Arts have been gracious beyond align our aspirations measure in helping me to ‘hit the ground for the public good running.’ I want to thank all of you for with those of the pubyour continuing interest in the school, lic research university and in advance for your contributions to in which we reside. the school’s ongoing development.

Most importantly, I value the potential for generative dialogue about how we may best prepare our students to make significant contributions to local, national, and international communities in a rapidly evolving global society.

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This issue of Tutti portrays an impressive array of faculty, student, and alumni achievements, all of which represent artistic and scholarly excellence and advance

David Myers begins his appointment on September 29, 2008. music engagement for broader communities. I know you, like I, will celebrate these achievements. We have also included a calendar of events showing the vital role the school plays in the cultural life of the Twin Cities.

I welcome those living in or visiting the region to mark these dates, check our website for additional events, and participate as often as possible in this public evidence of our musical and educational excellence.

As the school’s newest director, I want to acknowledge with gratitude the work of those directors who have preceded me. I especially want to offer heartfelt thanks to Professor Jerry Luckhardt, who has been a tireless interim director. Jerry, the school’s staff and faculty, and Dean Parente and his staff in the College of Liberal Arts have been gracious beyond measure in helping me to “hit the ground running.” I want to thank all of you for your continuing interest in the school, and in advance for your contributions to the school’s ongoing development.

Please know that I am available to listen and to learn all that I can from those who share an interest in our School of Music community. Know as well that I am dedicated to the school’s leadership in rigorous performance, creative, and scholarly activities that serve the goal of a more musically vibrant society. My wife, Judy, and I are delighted to be part of the University of Minnesota and the Twin Cities communities, and we look forward to meeting many of you in the days to come.

With all good wishes,

David Myers

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Photos: Kathy Easthagen

Sir Neville Marriner On April 25, 2008 the University of Minnesota Symphony Orchestra had the once-in-a-lifetime opportunity to rehearse under the baton of the legendary conductor Sir Neville Marriner. Maestro Marriner’s appearance in Ferguson Hall was part of a special collaboration with the Minnesota Orchestra made possible by a generous gift of support from George and Jevne Pennock.

University of Minnesota Symphony Orchestra conductor Mark Russell Smith prepared Mozart’s Symphony in C ( Jupiter-Sinfonie) for Marriner, an esteemed Mozart specialist. Smith was more than pleased to sit back and watch his orchestra perform with the world-renowned Maestro.

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in their wn words students write about their experiences

Nick Donatelle

Joseph Peters

Jennifer Berg

BM candidate, cello, student of Tanya Remenikova

BM candidate, oboe, student of John Snow

BM candidate, violin, student of Sally O’Reilly

“Sir Neville Marriner is a legend in the music world, and it was truly an honor to have him conduct the rehearsal with the Sym-phony Orchestra. It was phenomenal how Maestro Marriner was able to communicate with the orchestra using such controlled yet breathtaking gestures. Although he is 84 years old, the energy and enthusiasm he emitted was astonishing.

With such passion, he was able to produce sounds out of a student orchestra that truly rivaled that of the great professional symphonic orchestras. That is the sign of a great conductor, but even more so that of a brilliant musician. The ideas he had for the Mozart Jupiter Symphony No. 41 provided me with a new understanding of the complex emotion in Mozart’s music. Although very subtle, there were moments Maestro Marriner presented that truly showed his understanding of Mozart. This could have very well been the only time that I get the opportunity to play under the baton of Maestro Marriner, and it is something that I will remember for the rest of my life.”

“As an orchestral musician, working with Sir Neville Marriner was both helpful and inspiring.

It’s not often that the chance to work with such an important musical figure comes along. Particularly since the orchestra was preparing a Mozart symphony, it was wonderful to work with an expert in that field. Naturally, many of us were nervous preparing to play for him, but he put the ensemble at ease immediately, and we were able to concentrate on the matter at hand. He had a lot to say about the music, but also about musicians­—he reminded me that oboists such as myself could be divas and ‘stop listening to everyone else the moment they pick up their instruments.’ It was lighthearted, but full of good musical insight.

The orchestra has been lucky to work with great guest conductors all year, and this rehearsal was particularly beneficial for the whole orchestra and everyone who was able to listen. It speaks well for the School of Music that we are able to have people like Sir Neville Marriner stop by.”

“Our rehearsal with Sir Neville Marriner was an eagerly anticipated and not easily forgotten event. Not only did his reputation inspire us to play at a higher level, but his continuous high spirits gave us even more energy for the music. His downto-earth style led to amusing analogies. In the first movement of the Mozart, the violas have a pizzicato downbeat, which Sir Neville Mariner, chuckling, told them sounded like ‘a golf ball hitting a sheep!’ His time with us passed by very quickly, but I hope that his passionate musical energy continues to invigorate our orchestra.”

Erik Rohde

BM candidate, violin, student of Mark Bjork

“The experience of playing under Sir Neville Marriner was both highly memorable and very motivating as an orchestral musician. Knowing the experience he brought to the podium and the legacy he has left on the world of classical music made working with him quite exciting. His depth of insight into the world of Mozart is one that comes only with living a long life pouring oneself into the discovery of that music. For a young player, it is not something that one gets to experience often.”

Conductor Sir Neville Marriner leads the University Symphony Orchestra, professor/conductor Mark Russell Smith looks on

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The

Book of Elements

This fall, the University of Minnesota School of Music will present the North American premiere of composer and School of Music professor James Dillon’s The Book of Elements, a cycle for solo piano in five volumes, in Ted Mann Concert Hall. Noriko Kawai, worldrenowned pianist and School of Music visiting associate professor, looks forward to this special event.

The Book of Elements Volumes I–V are dedicated to the Australian master Roger Woodward who gave the premiere of Volume I. However, each of the five volumes were commissioned by five different pianists. Kawai premiered Volume II and has already given complete performances (a rare event in itself) of all five volumes at the UK Huddersfield Festival, The Royal College of Music in London, and Alicante Fesitival in Spain. She says “...I’m not keen on terms like contemporary music specialist, I certainly do not like to be labeled as one. In performing Dillon’s music, first of all, it is true you need initially to take an analytical/mathematical approach just to be able to absorb the enormous amount of information (here, you are talking about 90 minutes of extreme intricacy), which is painstaking, hard work for the mind and the

James Dillon, composer

body. But if you are patient enough, you soon realize the striking beauty that lies behind the complex material—material that demands a richness of keyboard artistry and something quite authentic. This is a rewarding sensation for a classically trained pianist to experience. What I like about Dillon’s piano music is despite his vast knowledge of the keyboard literature, his language remains unique, outrageous, elegant, exasperating, funny, and helplessly beautiful.”

“The North American premiere of Dillon’s Book of Elements at the University of Minnesota will be an event to celebrate.”

Michael Cherlin, professor of theory and composition and host of The Book of Elements lecture and pre-concert discussion, reflects on Kawai’s artistry, “Dillon’s Book of Elements has an ideal interpreter in Noriko Kawai.

She gave the premiere performance of Book II in 2001, and her 2003 recording of the complete work is superb.

“James Dillon strikes me as that most rare of artists, having an unfettered imagination, extraordinary craft and a vital life force that comes through in his music. It is music of surprising emotional range and technical diversity, capable of exquisite beauty, joyous and even extravagant energy. Dillon can be majestic, and he can be ridiculous, his

Although he has lectured extensively on his work throughout the world, James Dillon has largely remained outside of academia working as a freelance composer. Since 1980, Dillon’s work has been performed consistently and commissioned worldwide by most of the major festivals, radio stations, soloists, ensembles, and orchestras. He is the recipient of numerous awards, including the first Huddersfield Contemporary Music Prize (1976); the Kranichsteiner Musikpreis (1982) from Darmstadt, Germany; and three Royal Philharmonic Society Music Awards (1997, 2001 and 2005), the UK’s most prestigious music awards. In 1989, he was named Classical Musician of the Year by the Sunday Times. Dillon’s catalogue of work—which includes solos, chamber music, orchestral, concertos, electroacoustic works, and opera—has been extensively recorded on CD and is published by Peters Edition, London.

Left photo: Greg Helgeson

music sings and it dances, and he does it all with a sense of timing that is uncanny in its rightness.

Lecture James Dillon’s The Book of Elements Presented by Michael Cherlin with Noriko Kawai Tues, Oct 28, 2008 at 7:30 pm Lloyd Ultan Recital Hall

Performance James Dillon’s The Book of Elements with Noriko Kawai, piano Pre-concert discussion

by James Dillon with Michael Cherlin begins at 7 pm.

Wed, Oct 29, 2008 at 7:30 pm Ted Mann Concert Hall Lecture and performance are both free and open to the public.

Noriko Kawai, piano

Noriko Kawai studied at the Royal College of Music in London and the Academia di Santa Cecilia in Rome. Before her move to the United States, she served as professor of piano at the Royal College of Music in London. She has given many recitals and broadcasts throughout the world and is well known for the extraordinary range of her repertoire, from Renaissance composers to new music, and innovative programs juxtaposing standard and contemporary works. She has given duo recitals with the violinist Irvine Arditti and concerts with the Leopold String Trio, the Arditti Quartet, and the Quatuor Diotima.

She recorded James Dillon’s The Book of Elements Volumes I–V for the NMC label, which received unanimous critical acclaim including the 2004 Editor’s Choice in Gramophone. In August 2006, she gave the world premiere of James Dillon’s Andromeda Piano Concerto at the BBC Proms, with the BBC Scottish Symphony Orchestra conducted

by Ilan Volkov. In 2007, she gave the French premiere of the same concerto to open the MUSICA Festival in Strasborg.

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Musical Bridges

Young-Nam Kim, professor of violin and founder and artistic director of the Chamber Music Society of Minnesota, was a featured guest soloist at the Pyongyang Spring Arts Festival in North Korea in April 2008. Kim performed Vivaldi’s Four Seasons and a violin concerto by the late North Korean composer Min-Hyuk Park with the Pyongyang National University Orchestra.

Kim, born in North Korea and raised in South Korea, last visited his homeland in 2004 as part of a group of American musicians invited to take part in North Korea’s annual Spring Arts Festival in North Korea’s capital, Pyongyang. Kim was invited back to the festival this year as a special guest soloist.

At the first rehearsal of the piece, he realized that the orchestra had an enormous affection and enthusiasm for the concerto, not unlike the attitude of Americans toward the National Anthem. Kim reflects, “The musicians knew the piece like the back of their hands. It was performed in a holy manner. The rehearsal inspired me to work harder to match their vivacity. It was a great lesson for me. (They were surprised I learned the

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piece so quickly!) It was also wonderful to work with a conductor who knew the piece so well. The orchestra knew the piece equally well. They have enormous pride in their work and admirable dedication. This is how it used be here also in the past. Rehearsals were unlimited; you kept rehearsing until you were satisfied.”

Kim Il-sung—“The Great Leader” of North Korea from its founding in early 1948 to his death in 1994— proclaimed that music is necessary and good for the well-being for the nation, referring to some selected musicians as the “People’s artists.” Kim says, “People’s artists are treated like gods by the government and the people. I feel that the people, musicians in particular, of North Korea are naïve, pure, and uncorrupted.

They pour their hearts out without worrying about commercial success. If you compliment them they always give credit to their country.”

Three professional orchestras of high caliber call North Korea home, including the Pyongyang National University Orchestra, the State Symphony, and the Mansudae Orchestra. Kim elaborates, “The State Symphony is

Photo: Greg Helgeson

absolutely first class, and they feel that they are just as good as the New York Philharmonic which made an historic visit there last February. They have a traditional rehearsal schedule similar to that of old-time Europe. ‘The Great Leader’ deemed that music is important for the nation and that music making is not just to sell tickets. Playing music for the people is an honor and a great service to the nation as a citizen. The musicians are totally devoted to their chosen profession, and the focus is on artistry, not the industry. This is how I believe music making should be. Their attitude is amazing; you can feel the level of concentration of the orchestra under their esteemed conductor. The State Symphony is going to London in September 2008. I am very curious to see London’s response.

“As per an edict from ‘The Great Leader,’ the Mansudae Orchestra plays western repertoire backed by transformed Korean folk instruments. For example, half of the violin section plays regular violins and the other half plays transformed folk instruments with violin register. Very often one will find folk elements in today’s North Korean compositions. This is no different than Mahler using Viennese folk songs as inspiration.”

The Pyongyang National University Orchestra is an excellent professional orchestra that consists of graduates of the University—the main music school in North Korea. They have a large facility, with a beautiful concert hall.

Kim was given the opportunity to observe piano, violin, cello, flute, and percussion lessons taking place at the University. The students study western repertoire, but when asked to play a piece for a guest, Kim noted that they choose North Korean works. Kim posited that they were told to do this, but suspects that they were more comfortable performing the North Korean piece. He also had a tour of the state arts school for gifted children. Kim says, “It was a little saddening to see how strict it was. I saw five- and six-year-olds behaving like soldiers. Their work was precocious and amazing, but somewhat stifling. Their performances were too perfect.”

Kim hopes that the common language music will lead to more conversations and collaborations that will one day bring about political change in North Korea. With Kim’s visits and the wellpublicized New York Philharmonic trip to North Korea, it appears that the change has already begun.

Young-Nam Kim, left, with conductor Mun-Ho Choi in the lobby of the Main Concert Hall in PyongYang

Honoring Lawrence Weller

This past spring, the University of Minnesota School of Music community bade a fond farewell to retiring voice professor Lawrence Weller. Weller arrived on the University of Minnesota Twin Cities campus in 1979. The Chicago native received his formal music training at the University of Illinois and Indiana University and has performed as singer or conductor in concert and opera throughout North America, in ten European countries, and in South America.

Over his 29 years of teaching, Weller made an indelible mark on the School of Music. Associate professor and opera director David Walsh reflects, “The first person I spoke to at the University of Minnesota was Larry Weller. He conducted the conference call telephone interview with me, which ultimately led to my appointment as a member of faculty here at the School of Music. His calm, quiet manner and obvious interest in what I had to say soothed my anxieties and enabled me to present myself in the best possible way. Since taking over the Opera Theatre program here at the school, Larry has been a wonderful mentor, helping me to make the adjustment from professional opera to academia. In those difficult moments we all encounter, he has always been someone I could turn to for feedback, advice and support.

“He understands the psychology of the creative performer—his passion and his fears. He conveyed artistic truth in his own performances, and this understanding is reflected in the work of his students too. He was a treasure!”

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New

Photo: Kelly MacWilliams

faculty news

Directions David Myers has been named director of the University of Minnesota School of Music. His appointment will be effective on September 29, 2008. Myers’s distinguished career brings a wide array of experiences to the School of Music. He holds a PhD degree in music education from the University of Michigan, Ann Arbor and a MM degree, also in music education, from the Eastman School of Music, the University of Rochester. Myers has more than 30 years of experience as a teacher and administrator. He has taught extensively in the field of music education at Georgia State University, Sydney Conservatorium of Music, and the University of Wisconsin, Madison.

“Dr. Myers is an outstanding leader with broad administrative experience, both nationally and internationally. His visionary ideas about music education and the relationship between music, the arts, and society will greatly strengthen the school and enrich its relationship to our community, our nation, and the world,” said James A. Parente, Jr., interim dean of the University of Minnesota’s College of Liberal Arts.

Reflecting on his move to Minnesota, Myers says “I am thrilled to join the University of Minnesota School of Music community and to help steward this institution’s impressive legacy...There is leading edge work happening at the School of Music; I look forward to working together with our faculty, staff, and students and the Twin Cities community in advancing the important roles music and musicians play in the quality of life in our local and global societies.”

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Harmon

Thinking About

In Thinking About Harmony: Perspectives from the Eighteenth and Nineteenth Centuries, just published by Cambridge University Press, associate professor of music theory David Damschroder extends the exploration of historical music treatises that he launched in his Music Theory from Zarlino to Schenker (Pendragon Press).

Part history of theory and part analysis of music, Thinking About Harmony offers a broad view of music written between 1800 and 1850. The book features the responses of musicians to the music that was created by composers of their time, including Beethoven, Chopin, and Schubert. Each chapter offers a fascinating look at a different musical topic relating to harmony—chords, their succession, their embellishment, modulation, and so on. The views of approximately 100 music authors from the eighteenth and nineteenth centuries are considered.

with David Damschroder

With funds provided by the University of Minnesota, Damschroder traveled to the New York Public Library and the Library of Congress to study rare materials not available in Minnesota. Many of the music examples featured in Thinking About Harmony are scanned directly from these treatises. The University’s Digital Services Department helped him assemble, crop, and clean these images using the latest technology.

Damschroder is currently at work on a sequel to Thinking About Harmony, tentatively titled Schubert’s Harmonic Practice. He has twice in recent years taught a seminar on Schubert’s music.

Sample pages of Thinking About Harmony may be viewed at amazon.com or scholar. google.com.

Cover design: Hart McLeod, Cambridge University Press

David Damschroder (at piano) with students

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Photos: Greg Helgeson

Performance Thoughts on

by Andrew Staupe

My recent performances with the Minnesota Orchestra—playing Rachmaninoff’s Piano Concerto No. 1 in f # minor Op. 1 (with Mischa Santora conducting)—were among the most memorable and enjoyable experiences of my life. Though I had performed with the Minnesota Orchestra before, namely in 2005 (performing Saint-Saëns’ Carnival of the Animals with Daniel Alfred Wachs leading the orchestra) and in July 2006 (performing Liszt’s Piano Concerto No. 2 with Music Director Osmo Vänskä conducting), the four recent performances were on a different level in many ways.

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To start, I came to these concerts with an expectation of total preparation and professionalism on my part. Being a DMA student at the University of Minnesota and not a professional pianist under artistic management, I had to demand the same level of professional output as any other guest artist with the Minnesota Orchestra would give.

This preparation can be divided into many parts: mental and physical, among others.

The obvious mental challenges include fighting the nerves while performing in front of an audience that expects great music from a great orchestra, as well as being able to perfectly execute my part with this world-class orchestra that regularly engages the greatest classical performers around. It would be all too easy for one to succumb to doubt and fear, but due to my previous success with this particular concerto, as well as my prior performances with the Minnesota Orchestra, I overcame any negative thoughts and focused only on the task at hand: to perform a beautiful piano concerto with musicians of the highest artistic caliber. The physical challenge was one that I had never encountered either. My previous experiences in solo performance involved a single concert, one opportunity to give it my all. However, this was a completely different situation. For the first time in my life, I had to give it my all four times in a row—Thursday through Sunday; this is not counting the rehearsals that occurred days before the concerts which were themselves full run-throughs. To say that I was exhausted by the end would be an understatement. I was exhausted after my first rehearsal, but one builds up physical and mental endurance each performance; the surge of adrenaline and the excitement that is part of live performance also carries one through the concerto.

One of the most difficult aspects of performance is focus. It takes an extremely high level of concentration to execute a difficult piece of music entirely from memory with people listening and watching. A solo pianist must listen, remember all the notes and hand motions, watch the conductor for total synchrony, listen to the orchestra, hear the accumulated sound bouncing back from the

hall (the acoustics in Orchestra Hall are quite this concerto and its eventual performance. lively), and not get distracted by random I arrived at Orchestra Hall fully prepared, noise in the audience, all while focusing on not only because I had put in a large amount making the music come alive with expresof practice and commitment to the work, sion and personality. Each one of those tasks but also because Lydia had guided me to is difficult, but the combination of all (and that point; without her teaching I would other unmentioned factors) of not have been able to have these leads to a task that few the confidence I had when I arrived at Orchestra Hall can handle successfully. The I struck the first chord in fully prepared, not only mind is not infallible, and performance. because I had put in a often during a performance large amount of practice my mind will get distracted, I have addressed the chaland commitment to the forcing me to work harder lenges inherent in a concert work, but also because in order to avoid a potential pianist’s duty, but there are Lydia [Artymiw] had guidtrain wreck. Even the simmany joys as well. The first, ed me to that point... plest distraction—whether above all, is the thrill to be it is a thought or feeling, or able to play the greatest something unpredictable like a loud cough or piano concertos with top orchestras. The camera flash—has the potential for affecting musicians that make up these ensembles the output of the memorized music. One’s bring a collective professionalism, intensity, health can also detract from a performance, experience, and passion that the guest pianist as any concert pianist will tell you. Illness can feel. I could sense this from the members can take its toll on the musician trying to of the Minnesota Orchestra quite clearly, and put 100% of his/her power and passion into it greatly assisted my performance. The trea live performance. I had been traveling prior mendous joy of artistic collaboration is a very to these performances and had gotten sick, memorable thing, and I definitely felt this so during the concerts I had to constantly during every minute onstage. The other great fight a persistent cough while onstage. This aspect of performance is the way it positively could all too easily have resulted in a lack of affects the audience. There is no greater joy clarity in my memory or become a mental than knowing that you, by communicating barrier to effective execution. Fortunately for through an instrument, have touched many me, this was not my first experience playing people in very individual ways. Each audience with an orchestra or in front of an audience member is unique, and therefore they take (or doing so while ill), so I wasn’t suddenly something away from the performance that thrown into these concerts not knowing what is also their’s alone. When I have seen and to expect. I have had a gradual development heard the positive things resulting from my on the concert stage that fully prepared me to hard work, it is the greatest feeling in the accomplish what I desired those nights. world. To hear the applause and to see the audience stand as a visual ‘thank you’ are A large majority of my preparation for this thrilling encounters of which I will never tire. career came from my studies at the UniverThe exhilaration that is a part of live perforsity of Minnesota with my teacher, Distinmance is something one has to experience guished McKnight Professor Lydia Artymiw. firsthand in order to fully understand and Lydia is a very successful concert pianist and appreciate. Through my many performances, teacher­—an artist who brings a wealth of both large-and small-scale, I have sought to concert experiences and professional wisdom develop more fully as an artist conveying the to her students. She has performed the Rachbeauties of the classical masterpieces. My maninoff Concerto No. 1 frequently through recent performances satisfied this never-endthe years, with some of the world’s most dising journey and were a rewarding summatinguished orchestras and conductors, such as tion to all that I have accomplished so far.

Seiji Ozawa and the Boston Symphony. Her In the words of my teacher Lydia: onwards knowledge of the piece guided my studies of and upwards!

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Student News

The string players working on the student pieces were each asked to prepare one piece by Saariaho. These were presented in a concert as a part of the Santa Fe Chamber Music Festival.

Photo: Schuyler Tsuda

Other highlights of the program included a recital by Karttunen, a commissioned work

by Saariaho at the Santa Fe Chamber Music Festival, and the American premiere of Saariaho’s opera Adriana Mater at the Santa Fe Opera Festival.

Great Collaborations:

Photo: Schuyler Tsuda

Photo: Pekka Hako

Artistic Journeys

Photos (from top to bottom): Old Santa Fe Trail, Santa Fe, NM; composition student Schuyler Tsuda with Finnish composer Kaija Saariaho; Rolf Hass, violin student at the Santa Fe Chamber Music Festival

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In August, two University of Minnesota School of Music students—Rolf Haas (BM candidate, violin, student of Sally O’Reilly) and Schulyer Tsuda (PhD candidate, composition, student of James Dillon)—traveled to Santa Fe, New Mexico, to take part in The Creative Dialogue Composer Workshop sponsored by the Sibelius Academy of Helsinki, Finland. They participated in the program along with students from the Sibelius Academy; Yale; University of California, San Diego; and the New England Conservatory.

The workshop, led by Finnish composer Kaija Saariaho and Finnish cellist Anssi Karttunen, created a platform for collaboration between young composers and performers.

Composition students were asked to write a three- to nine-minute piece for any combination of string players, from solo to sextet.

These pieces were studied during workshops by the performance students, worked on with both coaches and performed at the concert.

Each student had the opportunity to have a private lesson with Saariaho.

Tsuda shared his thoughts on the trip, “The Creative Dialogue Composer Workshop was an incredible experience. Typically at festivals, the composer hands his piece to the performer, the performer works on it on his own, and the piece is finally played in a concert.

“At the Creative Dialogue Composer Workshop, composers and performers literally lived with the music. Since we only had a week to put together the pieces, we were forced to collaborate, compromise, and find solutions to problems without destroying the integrity of the music or the musicians. At times it was an intense experience.

“By the second or third day, I was completely convinced that my piece would not be performed at all. There were problems that seemed would not have a resolution, but the more we talked, the more we discovered that there were creative solutions–solutions that I never would have thought of myself. What seemed so difficult in the beginning was so seamless at the final concert that it was like magic, and Kaija, Anssi and all my players were to thank for this. We learned so much from each other and about each other, and I feel that we formed deep friendships from our efforts to understand each other and support each other’s work.”

Season Highlights Annual School of Music Collage Concert to feature

Minnesota Orchestra Music Director Osmo Vänskä

Photo: Greg Helgeson

Join us in welcoming the new School of Music Director, David Myers, for the annual Collage Concert—a musical spectacular featuring faculty and student performers. Always an audience favorite, this year’s Collage Concert will also feature Minnesota Orchestra Music Director Osmo Vänskä conducting the University of Minnesota Symphony Orchestra.

Renowned as one of the world’s foremost interpreters of Jean Sibelius, Maestro Vänskä will conduct the Finnish composer’s Finlandia. The Collage Concert will take place on October 18, 2008 in Ted Mann Concert Hall and is free and open to the public.

Osmo Vänskä leads the University Symphony along with the Minnesota Orchestra in 2007

Our 2008/2009 Opera Season!

The University Opera Theatre (UOT) will present Benjamin Britten’s The Rape of Lucretia, an operatic exposé of sexual and cultural violence set amidst the backdrop of imperialist war, on November 6-9, 2008.

On April 23-26, 2009, UOT will stage Leos Janáček’s Jenůfa (in English), an intensely moving and powerful social drama that depicts the tragedy of a young woman’s “sin” in an intolerant, unforgiving society and her subsequent triumph through compassion, love, and newfound understanding.

All performances will take place in Ted Mann Concert Hall. Tickets are available and may be purchased through UMATO at tickets.umn.edu or by phone at 612/624-2345. Visit opera.umn.edu for complete opera updates.

Love Opera? Stop singing arias in the shower and join...

Fans of the University Opera Theatre

Photo: Les Koob

Eat, drink, and be treated to an aria or two from the University Opera Theatre, all while boosting the opera program. For more information about this opera group with an educational and social slant, contact Fred Amram or Sandra Brick at amram001@umn.edu or by calling 612/378-2335.

To make a gift of support to Minnesota’s opera stars of the future, contact development officer Ann Ulring at 612/624-8573.

Student Binna Han in The Coronation of Poppea

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Art

The Alchemy Project

The Alchemy Project is a Minnesota non-profit organization that promotes the enrichment of both individual and community health through outstanding, multidisciplinary arts programming.

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alumni outreach music.umn.edu

For Change

In summer 2007, Emilie Sweet (DMA, 2008, conducting, student of Kathy Romey) founded The Alchemy Project, a Minnesota non-profit organization that promotes the enrichment of both individual and community health through multidisciplinary arts programming.

Sweet invited University of Minnesota School of Music alumni Laura Krider (BM, 2001, music education) and Kela Wanyama (BM, 2002, music education) and student Kristi Bergland (DMA candidate, voice, student of Glenda Maurice) to join The Alchemy Project artistic and organizational team.

Alchemy Project Photos: Laura Krider

The Alchemy Project’s first project, Fusing with Intenser Fire, explored the intersection between mental health and creativity. They held five conversation events on the University of Minnesota campus that focused on the topic of mental health and creativity. A diverse group of scholars, artists, health care professionals, and distinguished members of the community were invited to join the conversation as they investigated the relationship between mental health and the composer’s creative process, the history of mental illness, society’s relationship with the mentally ill, madness as metaphor, and the dynamic between healing and narrative.

In culmination of this exploration, the Alchemy Project presented two concerts, including a choral concert featuring the University of Minnesota Chamber Singers and the Alchemy Ensemble, performing poetry and prose by authors who have dealt with mental health issues. Over $1,700 were raised in the two evenings and all of the proceeds benefited S.A.V.E., Suicide Awareness Voices of Education.

Alchemy was successful in not only raising awareness, but also raising funds for the organization to continue post-project.

The Alchemy Project launched an annual literary publication that also addresses the chosen theme to further extend community dialogue. Through poetry, prose, and visual art, the publication allows for a wider range of perspectives and allows the dialogue to continue long after the performance ends. This publication is also posted on The Alchemy Project website, www.alchemyproject.org.

The Alchemy Project’s interdisciplinary performances and discussion events opened a dialogue in our community, and through this dialogue they hope to build relationships and discover what can grow when art is given the opportunity to be a vehicle for change.

Their spring 2009 season will explore the dynamic between healing and movement. The Alchemy Project will be commissioning Abbie Betinis (MA, 2007, composition, student of Judith Lang Zaimont) for a chamber piece with dance. They will also be working with faculty member Jean del Santo (voice) to premiere a song cycle by Lori Laitman.

Help us in our work to develop the next generation of composers, conductors, performers, educators, musicologists and therapists.

with Ann Ulring

My role as a development officer is to create opportunities for your involvement around the things which interest you most. I invite you to go with me behind the scenes of a rehearsal, observe in the classroom, meet a faculty member, or attend a concert. It is this kind of personal, first-hand experience which will give you insight into the quality of work being done in the School of Music.

As you can see in this issue of Tutti, the School of Music is a vibrant place where minds are being stretched and great music is being made. From the North American premiere of professor James Dillon’s The Book of Elements to the recent performance of graduate student, Andrew Staupe with Minnesota Orchestra, there is a wide array of brilliant creative work being done in the School of Music.

This caliber of teaching, study, and research cannot exist without your help. There are many opportunities for giving to the School of Music. Right now the greatest need is student support—graduate fellowships and undergraduate scholarships not only allow students to focus on their musical study but they also provide encouragement and build confidence. Your gifts allow the department to recruit and retain the very best students and help the School of Music to thrive and grow.

To discuss creating a fellowship or scholarship or other gift opportunities, please con­tact me, Ann Ulring, at 612/624-8573 or aulring@umn.edu.

Photos: Emilie Sweet, founder of The Alchemy Project, leads members of the Chamber Singers, Alchemy Ensemble, and Cantiamo String Quartet in rehearsal alumni outreach music.umn.edu

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Photos: 1, 4, 6 Les Koob/2, 5, 8, 9, 11, 12, 13, 15, 17 Greg Helgeson/3 Kathy Easthagen /7 Evan Stremke /10 Donald Jackson/14 Kelly MacWilliams/16 Teresa Schafer, Hennepin County Public Affairs

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1. Students perform in the 2007 fall University Opera Theatre production Suor Angelica.

2. Faculty member Kathy Saltzman-Romey,

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teaching assistants Laura Anderson and Andrew Crow, and staff member Valerie Stedman celebrate the 2007 Collage Concert. 3. Justin Knoepfel plays the violin under the baton of Sir Neville Marriner. 4. Students Christopher Loomis, Laurent Kuhl, Brian Fruitger, Evan Kusler, and Joel Mathias perform in the fall 2007 University Opera Theatre production of The Seven Deadly Sins. 5. Composer Liza White celebrates the Wind Ensemble’s regional premiere of her 2007 Craig and Janet Swan prize winning piece, Scene. 6. Faculty member Timothy Lovelace receives accolades after conducting a fall Opera Theatre performance. 7. Faculty member Craig Kirchhoff and guest Kelli Pence participate in the 2007 Conducting Symposium. 8. Interim director Jerry Luckhardt celebrates the 2007 Collage Concert with Dr. Samuel and Thelma Hunter.

9. Faculty member Lawrence Weller is honored at his retirement celebration. 10. Guest trumpeter Alan Hood performs with Jazz Ensemble I during the 2008 Jazz Festival. 11.

Faculty member John Anderson performs Black Dog for a spring 2008 Wind Ensemble concert. 12. Students Binna Han and Woobin Park toast the 2007 Collage Concert, along with Park’s husband Dong Soo Hong. 13.

Faculty member Dean Sorenson, his wife Dawn, and his daughter Maddy commemorate the Collage Concert. 14. Marching band members prepare to rock. 15. Student Adam Rossmiller performs in a spring 2008 Wind Ensemble concert. 16. Student Zachary Saathhoff performs during the 2007 Bravo! Summer String and Keyboard Institute. 17. Students Binna Han and Linh Kauffman perform at the spring 2008 Carmina Burana concert.

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School News Faculty News

John Anderson (clarinet) performed a recital of music from South America including two world premieres. Guest composer João Guilherme Ripper, from Brazil was in attendance. Assisting were Korey Konkol (viola), Immanuel Davis (flute), Timothy Lovelace (piano), and guest Valarie Anderson on oboe. Anderson was also featured soloist with University Wind Ensemble on Scott Macalester’s Black Dog. He performed a chamber recital in Rio de Janeiro as part of the International Series at the Sala Cecilia Meireles Concert Hall.

The world premiere of Professor Emeritus and composer Dominick Argento’s Evensong: Of Love and Angels took place in March at the Washington National Cathedral and was performed by the Cathedral Choral Society.

Argento’s work was commissioned by the Cathedral Choral Society’s William Strickland Commission in honor of the 100th Anniversary of Washington National Cathedral. In June, the University of Minnesota conferred a Doctor of Humane Letters upon Argento.

In fall 2007, Lydia Artymiw (piano) performed a solo recital and gave a master class at the University of British Columbia; she joined violist Kim Kashkashian in four recitals in Minnesota, Vermont, Maryland, and New York. In winter 2008, she was on the jury for the Corpus Christi International Concerto Competition; performed two concerts with the Miami Quartet at the Hartt College of Music in Connecticut; and performed with the Tokyo Quartet in Philadelphia. The spring of 2008 included two master classes at Temple University and at the Kaufman School; participation in a Russian Music Symposium for the British magazine, Piano; an article on October and November from Tchaikovsky’s The Seasons for the March/April Piano Magazine; two recitals with Christopher Millard at Northwestern University and at the Curtis Institute; the Archduke Trio with others for the SPCO Ensemble Series; a recital with Kim Kashkashian at the International Viola Congress at Arizona State University, as well as three of Messiaen’s Vingts Regards at Orchestra Hall. In summer 2008, she was invited to the Bravo! Vail Valley Festival for five performances with the Miami Quartet, Eugenia Zukerman, and others. In fall 2008, she will do a residency at the Colburn School. Her CD recording with Marcy Rosen for the Bridge label (cello sonatas of Thuille and Dohnanyi) was recently released. For more information, visit www.lydiaartymiw.com.

The Saint Paul Chamber Orchestra (SPCO), including School of Music faculty members, 20 14

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performed works by Schubert, Stravinsky and Dvorák at Zankel Hall as a part of Carnegie Hall’s 2007/2008 season in May. School of Music faculty who performed with the SPCO include Thomas Ashworth (trombone), Julia Bororad-Kogan (flute), Gary Bordner (trumpet), Christopher Brown (bass), and Charles Ullery (bassoon).

Thomas Ashworth (trombone) performed with the SPCO in multiple subscription and family concerts throughout the Twin Cites and Minnesota. Performances included the world premiere and the New York premiere of She Was Here, Osvaldo Golijov’s orchestrations of four Schubert songs. Ashworth performed the soloist euphonium part on a multi-media presentation of Holst’s The Planets with the Minnesota Orchestra.

David Baldwin (trumpet) attended the International Trumpet Guild Conference in Banff, Alberta in June. On the Festival of Trumpets Concert he conducted a composition of his Grappling with Dualities for thirteen trumpets, and he performed in The Three Bluejackets by Ernest Williams. He recently released a new solo trumpet CD, 27 Melodious and Rhythmical Exercises, for trumpet or cornet by J. L. Small, published by Carl Fischer. This summer, Baldwin recorded the Twelve Grand Artistic Studies for cornet or trumpet of August St. Jacome. The Summit Hill Brass Quintet performed Beatles selections arranged by Baldwin in May.

In May, alumni Mary Joy Rieder, Ralph Johanssen, and Paul Barte presented a recital in honor of Dean Billmeyer’s (organ) School of Music silver anniversary. Billmeyer appeared in May as a pianist with the SPCO in performances of Ligeti’s Chamber Concerto for Thirteen Instrumentalists. Performances were at the Ordway Music Theatre, St. Mary’s University, and Bethel University. He appeared as a pianist at the St. Paul Landmark Center’s Courtroom Concerts.

He presented a workshop at the American Guild of Organists national convention in June. For information on the restoration of the Northrop Organ, contact Billmeyer.

Mark Bjork’s (violin) book, Expanding Horizons: The Suzuki Trained Violinist Grows Up was recently released by Summy-Birchard, a division of Alfred publishing. In May, he presented his talk, “Teaching Musical Values, International Relations, and editions” at the conference of the Suzuki Association of the Americas. In June, Bjork offered two courses for teachers at the Colorado Suzuki Institute and taught master classes for Chamber Music

in the Rockies. In August, he taught at the American Suzuki Institute at the University of Wisconsin Stevens-Point, he also served on the jury of the International Music Competition in Jeonju, Korea.

Matthew Bribitzer-Stull (theory) received the Emerging Scholar Award at the 2007 national meeting of the Society for Music Theory in Baltimore, MD. Bribitzer-Stull’s winning b article, entitled “The A –C–E Complex: The Origin and Function of Chromatic Major Third Relations,” was published in Music Theory Spectrum 2006. Bribitzer-Stull’s article “Echoes of Alberich’s Anguish: Compositional Unity, Analytic Plurality, and Wagner’s Das Rheingold” was selected for publication by the Journal of Schenkerian Studies in September 2007. In December 2007, his article, “The End of Die Feen and Wagner’s Beginnings: Multiple Approaches to an Early Example of Double-Tonic Complex, Associative Theme and Wagnerian Form” was published in Music Analysis. His book manuscript, Reconstructing the Leitmotiv: Music Themes, Musical Association, and the Paradigm of Wagner’s Ring is currently under review by Oxford University Press.

Kelley Harness (musicology) received a research grant from the Brine Charitable Trust to conduct research on sixteenth- and seventeenthcentury musical representations of the biblical heroine Judith. The grant allowed Harness to travel twice to Italy to study manuscripts and early printed sources. She presented her initial findings in papers delivered at the 2008 meeting of the Renaissance Society of America (Chicago) and as part of a conference entitled “The Sword of Judith,” sponsored by the Brine Trust and held at the New York Public Library.

Noriko Kawai (collaborative piano) is featured on the soadie waste, a new CD release from NMC of chamber works by James Dillon (composition). Following her acclaimed recording of Dillon’s solo piano series, The Book of Elements, this disc features Kawai in duo partnerships with Irvine Arditti and Hiroaki Takenouchi and with the Arditti String Quartet. Traumwerk Book 3, black/nebulae and the soadie waste are all first recordings. Earlier solo pieces, Dillug-Kefitsah and Del Cuarto Elemento complete the program. See page 6 for feature article.

In February 2008, Craig Kirchhoff (director of bands/conducting) guest conducted the San Antonio Symphony in three concerts featuring Sir James Galway and Lady Jeanne Galway as guest artists; served as the master teacher and guest lecturer for the Ontario Music Educator’s Association instrumental conducting sympo-

sium held in Toronto; and served as an adjudicator for the Music for All National Concert Band Festival in Indianapolis. In March 2008, he served as guest lecturer and master teacher for the College Band Directors National Association North Central Conference conducting master class at the University of Omaha and served as guest clinician and adjudicator for the Field Studies International National Orchestra and Wind Ensemble Festival at Carnegie Hall, New York City. In April 2008, he served as a clinician for the Colorado Band Directors Association State Music Festival in Colorado Springs, CO. Kathy Kienzle (harp) performed as part of the Bell’ Alma Duo with flutist Michele Frisch in summer 2008. They appeared in July in Amsterdam at the World Harp Congress and in August at the National Flute Association conference in Kansas City. Their performances included commissions by School of Music alumni Daniel Sturm (BA, 1974/ MFA, 1981) and other works from their CDs, O Bell’ Alma and the November release La Belle Vie. Young-Nam Kim (violin) performed in collaboration with Stanislav Skrowaczewski, Pro Arte Trio, Robert Mann, and Gary Hoffman.

The School of Music’s New Music Ensemble, for which he is the director/violinist, presented the world premiere of Laura Schwendinger’s Piano Quartet. In May, Kim presented a recital including a new work by Alan Bullard with soprano Maria Jette which was later recorded for a CD to be released in late fall 2008. In June, he performed in Chicago in the celebration of the 2008 U.S. tour of Goryo Celadon. In August, Kim taught at the 7th annual Northern Lights Chamber Music Institute at Camp du Nord in Ely, MN, in addition to concerts in Bemidji and Chisholm. See page 8 for information on Kim’s trip to North Korea in April.

Alex Lubet (composition) edited the latest edition of The Review of Disability Studies: An International Journal (Volume 4, Issue 1), published by the Center on Disability Studies at the University of Hawai’i at Manoa. The issue, To Dance Beneath the Diamond Sky with One Hand, is the first of two devoted to the topic of disability and music. Lubet has been awarded one of 20 Hillel (Foundation for Jewish Campus Life) Faculty Fellowships. Lubet is President of Hillel at the University of Minnesota.

Guerino Mazzola (theory/collaborative arts) is featured on Live at Airegin, a new jazz CD release from Ayler Records.

Matthew Mehaffey (choral) has been named the new Artistic Director of the Oratorio Society of Minnesota. Mehaffey will make his debut with the OSM in the 2008/2009 concert season.

In January 2008, Fernando Meza (percussion) performed Leon Kirchner’s Concerto for Violin, Cello, Ten Winds and Percussion with the SPCO; participated in the Minnesota Orchestra’s Sounds of Cinema Festival; and gave master classes to percussion students in the University of Minnesota Honor Band.

Meza also hosted percussionist Ross Karre’s lecture on the “Bone Alphabet” by Brian Ferneyhough. In March 2008, Meza performed with the Minnesota Orchestra and Jamie Bernstein in Bernstein on Broadway. In April 2008, he traveled with the orchestra to New York City to perform Mahler’s Symphony No. 1 at Avery Fisher Hall; performed a “water percussion” solo at the Ordway Center; performed with Sir James Galway; and was a featured soloist during the Minnesota Orchestra’s Crash, Bang, Boom Percussion Festival. In the summer, Meza traveled to Venezuela to offer master classes for the country’s program of youth orchestras. He also to traveled Bahia, Brazil as percussion coach for the Youth Orchestra of the Americas, a group with whom he has been elected Co-Chairman of the Educational Council.

Sally O’Reilly (violin) gave master classes in Bermuda in January where her students, Jennifer Berg (BM candidate, violin), La Tannia Ellerbe (DMA candidate, violin), Rolf Haas (BM candidate, violin), and Zachary Saathoff (BM candidate, violin), were presented in a concert in Hamilton. The concert and master classes were sponsored by the Bermuda School of Music. In April, O’Reilly was invited to Honolulu, along with her daughter, Phoebe Dalton (DMA, 2007, cello), to judge Hawaii String Teachers Association’s Parade of Orchestras. O’Reilly gave a master class at the Punahou School, Barack Obama’s alma mater. Mia Lai Carlson (MM, violin) and Jonas Carlson (DMA, cello) who both teach at Punahou were their hosts. In April, O’Reilly gave a Question and Answer session for the Minnesota String and Orchestra Teachers Association. Her former student, Chad Hoopes, was the winner of the junior Menuhin Competition held in Cardiff, Wales, in April.

Tanya Remenikova (cello) gave a faculty recital with Alexander Braginsky in October at Ted Mann Hall, followed by a recital at Yamaha Salon, and a master class at the Special Music School at the Kaufman Center in New York City. She performed with the Hill House Chamber Players in November, February, and April. She will appear on the latest Hill House Chamber Players CD, issued on the Schubert Club’s 10,000 Lakes label. She was a guest artist with the Musical Offering and the Artaria String Quartet in the spring, and took part in the Music from South America faculty recital in February. Summer included teaching and performances at the Bravo! String and Keyboard Institute and master classes and

In

Memoriam

Mirjana Lausevic, associate professor

of ethnomusicology, passed away on July 15, 2007. Lausevic, born and raised in the city of Sarajevo, earned her bachelor’s degree in Musicology-Ethnomusicology from Sarajevo University in 1988. She earned her master’s degree and doctorate in ethnomusicology at Wesleyan University. She published numerous articles based on her fieldwork in the towns and countryside of Bosnia, Serbia, Croatia and the United States.

James “Red” McLeod passed away on July 3, 2007 at the age of 95. McLeod was one of the founders of the Minnesota Band Alumni Association and co-arranged many of our school songs. McLeod, a musical pillar in Minnesota, was inducted into the Minnesota Music Hall of Fame in 1991.

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Staff News

workshops at the Chamber Music Festival at Wesleyan University in Illinois.

Eugene Rousseau (saxophone) performed as a soloist in April 2008 with the Ludwigsburg Wind Orchestra in Germany under the baton of Horst Bartmann. Rousseau was also featured in recitals and master classes in Picacenza, Italy at the Conservatory of Music in April.

Photo: Jennifer Schmitt

Photo: Jennifer Schmitt

Photo: Jenni Hielke

Anna Schultz’s (ethnomusicology) article, “The Collision of Genres and Collusion of Participants: Marathi Rastriya Kirtan and the Communication of Hindu Nationalism,” was published in the most recent issue of Ethnomusicology, 52 (1). In March 2008, Schultz traveled to Vancouver to present an invited paper, “‘You Can Put It in Any Air’: Disarticulations of Repertoire from Style in Indo-GuyaneseAmerican Temples,” for the Performing Culture in South Asia: New Technologies, Texts, and Traditions conference at the University of British Columbia.

Staff member Valerie Stedman created a wonderland filled with flowers and vegetables on Ferguson Hall’s terrace. Lush and beautiful, the garden is a respite for faculty and staff, as well as a gorgeous backdrops for meetings.

Photo: Jenni Hielke

The School of Music Communications Department, consisting of Jenni Hielke, Jennifer Schmitt and Lisa Marshall, won a University of Minnesota Communicators Forum Maroon Award for the Spark Festival program book.

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There are always discoveries to be made in the Music Libary! Head music librarian Timothy Maloney is excited about the new additions to the library. New web-based acquisitions include a jazz audio streaming service, a database of downloadable music scores, an opera video streaming service, and a new online reference database that includes the full texts of numerous Oxford Univery Press music books. Available online sources are now so numerous, that we encourage you to check in regularly with the Music Library for further details. Visit music.lib.umn.edu for further details.

Paul Shaw (piano) appeared at the historic Manoel Theatre in Valletta, Malta in December 2007 in performances marking the 10th Anniversary of Teatru Unplugged. Shaw was invited by the Weill Music Institute at Carnegie Hall to host a special program in their Family Concert Series in February.

Rebecca Shockley (piano) gave a presentation on practice strategies entitled “But I played it perfectly at home!” for the Minnesota Music Teachers Annual Convention at Mystic Lake Casino last June. She also gave a presentation on Mapping Music for the Annual Piano Teachers Workshop at Plymouth (NH) State University.

In October 2007, she gave a guest lecture on Mapping Music and conducted an intermediate master class at the University of Iowa. She was also the featured guest clinician for the Kentucky Music Teachers Association State Convention in Danville in October. In November 2007, she gave a guest lecture on Mapping Music for faculty members at the MacPhail Center. In October 2008, she will be giving a guest pedagogy lecture at the University of Colorado and a workshop on Mapping Music for the Boulder Area Music Teachers.

Dean Sorenson (jazz) was commissioned to compose the official song of the Minnesota Sesquicentennial. Titled Shines For All To See, it was performed at the State Capitol, a Minnesota Twins baseball game, and at numerous statehood celebrations around Minnesota.

He was also a featured soloist at the Northern Michigan Jazz Festival in Marquette where he premiered Cool City, commissioned by NMU. He has been invited to present workshops and performances in Vancouver and Toronto in the late summer and early fall of 2008.

Jeffrey Van (guitar) joined Conspirare (Craig Hella Johnson & Company of Voices) for the

series, Love is a Circle, in Austin, TX in March.

The program featured the Austin premiere of Van’s A Procession Winding Around Me. The Ancia Saxophone Quartet recently returned from a concert tour of South Korea. Angela Wyatt (saxophone) is the baritone saxophonist with the Ancia Quartet. The tour included performances at Seoul National University, the Da-Ism New Music Festival in Daegu, the Jeong Yul-seong International Music Festival at the Gwangju Cultural Arts Center in Gwangju, as well as a concert for the Seoul Green Doctors.

She premiered new works by Korean composers at the New Music Festival and presented a concert at the International Music Festival in Gwangju. The Quartet also performed on the Wyman Concert Series at the University of Wisconsin, River Falls in December 2007.

Faculty Emerita Judith Lang Zaimont’s (composition) Elegy for symphonic strings was performed in April by the Chinese National Orchestra at the Forbidden City Concert Hall in Beijing, China, as part of the 2008 Beijing International Congress of Women in Music.

The concert was presented by The International Alliance for Women in Music.

Student News Ramiro Alvarez (MM, cello, student of Tanya Remenikova) won second place at the Thursday Musical Competition in March 2008. He also won a national audition and full scholarship for summer 2008 to participate in the prestigious Verbier Festival in Switzerland.

Alyssa Anderson (DMA candidate, voice, student of Wendy Zaro-Mullins) was an alternate district winner in the National Association of Teachers of Singing Artist Auditions.

Lily Ardalan (BM, organ, student of Dean Billmeyer) performed Psalm and Dance for organ and flute by alumnus David Evan Thomas (PhD, composition) at Plymouth Congregational Church at the national biennial convention of the American Guild of Organists, held in the Twin Cities in June 2008. Current organ majors Laura Edman (DMA candidate, organ, student of Dean Billmeyer), Mary Newton (DMA candidate, organ, student of Dean Billmeyer), and John Salveson (DMA candidate, organ, student of Dean Billmeyer) have also been active in their service on convention planning committees.

Elise Bonner (BM, piano, student of Lydia Artymiw) was invited to participate in the 2007 Gijon International Summer Festival in Spain.

She received a full scholarship for participation in the 2008 Banff Summer Arts Festival in Banff, Canada. She travelled to Vietnam and Thailand (as the recipient of a major grant) in summer 2008.

Eric Brook (MA candidate, composition, student of Doug Geers and Alex Lubet) recently completed an eight-month residency at University Lutheran Church, Minneapolis that culminated with a concert of his original work in May 2008.

Timothy Budge (BM candidate, guitar, student of James Flegel) won second place in the guitar division of the 2008 Schubert Club Scholarship Finals.

Allison Buivid (MM candidate, voice, student of John De Haan) tied for first place in the collegiate level advanced voice division of the 2008 Thursday Musical Young Artist Scholarship.

Nick Donatelle (BM candidate, cello, student of Tanya Remenikova) received an honorable mention in the University Symphony Orchestra 2007/2008 Concerto Competition.

Denis Evstyukhin (MM candidate, piano, student of Alexander Braginsky) won the University Symphony Orchestra 2007/2008 Concerto Competition playing Sergei Rachmaninoff’s Concerto No. 2. He performed the same piece with the University Symphony Orchestra under the baton of Henry Charles Smith in March.

Evstyukhin also won the 2008 Elinor Watson Bell Piano Competition.

Rebecca Fadell (MM candidate, voice, student of Glenda Maurice) won the regional National Association of Teachers of Singing competitions. She competed in the NATS National Competition Finals in Nashville, TN in June.

She was a first place district winner in the National Association of Teachers of Singing Artist Auditions.

Hans Fredrickson (BM candidate, percussion, student of Fernando Meza and Peter Kogan) attended the summer academy of marimbavirtuoso Nebojsa Zikvovic in Germany in summer 2008.

Rolf Haas (BM candidate, violin, student of Sally O’Reilly) won first place in the collegiate and graduate level string division of the 2008 Schubert Club Scholarship Finals.

Anna Hersey (MM, 2007/MA candidate, musicology, student of Lawrence Weller) won the regional National Association of Teachers of Singing competitions. She competed in the NATS National Competition Finals in Nashville, TN in June 2008. She was a second place district winner in the NATS Artist Auditions.

Hersey travelled to the Berkeley Repertory Theatre to perform as the Countess in Theatre de la Jeune Lune’s production of Figaro. She also accepted the Smathers Fellowship for doctoral studies in vocal performance at the University of Miami beginning fall 2008.

Julia M. Higginbotham (BM candidate, voice, student of Jean del Santo) tied for first place

in the collegiate level advanced voice division of the 2008 Thursday Musical Young Artist Scholarship.

Hiyas Hila (DMA, piano, student of Lydia Artymiw) received a grant from the Asian Cultural Council of the Philippines. Only five grants were awarded in 2007. She performed a solo recital for the Schuessler Series at the American Swedish Institute in May 2008.

Colin Holter (PhD candidate, composition, student of James Dillon) won first prize in the 2008 ArtSounds Music Composition Competition for the piece The Reds & the Blues, based on the original artwork Rosenquist Mural.

Bojan Hoover (BM candidate, percussion, student of Fernando Meza and Peter Kogan) was chosen as the top prize winner during the Missoula Symphony Young Artist Competition last December and returned in February 2008 to perform Ney Rosauro’s Concerto for Marimba and Orchestra with the Missoula Symphony as part of that prize. Hoover attended the summer academy of marimba-virtuoso Nebojsa Zikvovic in Germany in summer 2008.

Scotty Horey (MM, percussion, student of Fernando Meza) presented a marimba recital at The Neighborhood House in St. Paul in August 2008.

Chen-Yu Hsu (DMA candidate, violin, student of Jorja Fleezanis) received an honorable mention in the University Symphony Orchestra 2007/2008 Concerto Competition.

Mary Beth Huttlin (MM candidate, music, student of Burt Hara) won second prize in the 2008 ArtSounds Music Composition Competition for the piece Childhood Memories, based on the original artwork Marsden Hartley’s Painting no. 2.

Marc Jensen (PhD, composition, student of Alex Lubet) was the recipient of a doctoral dissertation fellowship from the University of Minnesota Graduate School. He was the Artist-in-Residence at the 2007 Deep Listening Convergence led by Pauline Oliveros and received his certification from the Deep Listening Institute and taught Deep Listening workshops through the Osher Lifelong Learning Institute and St. Louis Park Community Education.

He was the recipient of an ASCAPlus award and presented a paper at the Popular Culture Association national conference in San Francisco in March 2008. He had articles accepted for publication in Perspectives of New Music and Cinema Journal. He presented a piece at Florida State University’s CHASM festival in February 2008 and the International Society of Improvised Music conference in Chicago, December 2007.

Jacob Jonker (MM candidate, guitar, student of Jeffrey Van) won second place in the colleschool news music.umn.edu

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giate level guitar division of the 2008 Thursday Musical Young Artist Scholarship.

ing and music education, a position he will hold during the spring 2009 semester.

collegiate and graduate level string division of the 2008 Schubert Club Scholarship Finals.

Linh Kauffman (DMA candidate, voice, student of Larry Weller) recently participated in a concert of Handel choral works with baroque specialist Ton Koopman at Carnegie Hall as part of the Professional Training Workshops of The Weill Music Institute.

Nicholas Nelson (BM candidate, voice, student of Glenda Maurice) was a Schubert Club Scholarship Preliminary Graduate Vocalist finalist. Nelson won first place in the graduate level voice division of the 2008 Schubert Club Scholarship Finals.

Adam Rossmiller (MM, 2004/DMA candidate, trumpet, student of David Baldwin) was appointed to a replacement teaching position for fall semester at Gustavus Adolphus College in St. Peter, MN.

Ivan Konev (DMA candidate, piano, student of Alexander Braginsky) received the second prize in the 2008 Elinor Watson Bell Piano Competition.

Noelle Noonan (DMA candidate, voice, student of John De Haan) spent five weeks in Berlin, Germany as a Research Fellow with the Checkpoint Charlie Stiftung during summer 2008. The program was co-sponsored by the University of Minnesota’s Center for German and European Studies. Noonan was coached by conductors and teachers from the Deutsche Oper Berlin and the Komische Oper Berlin and performed as a guest artist with a professional choir in Velten. She also collected unpublished and out-of-print music by African-American, female composer Margaret Bonds as part of her thesis research. This research was funded by the University of Minnesota’s Graduate Research Partnership Program (GRPP). Recently, Noonan accepted a Foreign Language and Area Studies Research Fellowship (FLAS) from the Institute of Global Studies through the United States Department of Education. The focus of her FLAS research is the lesser-known art song output of composer Giuseppe Verdi. She performs with the Kenwood Symphony Orchestra as a featured artist in their Summer Concert Series.

Jonathan Magness (DMA candidate, violin, student of Sally O’Reilly) was named the new associate principal second in the Minnesota Orchestra in June 2008.

Eric McEnaney (DMA candidate, collaborative piano, student of Timothy Lovelace) and Andrew Fleser (DMA candidate, collaborative piano, student of Timothy Lovelace) were featured in a concert of Nordic vocal music for the Grieg Society (part of Norway House) at Augsburg College in March 2008.

Heidi Johanna Miller (DMA candidate, conducting, student of Craig Kirchhoff ) led a performance of Igor Stravinsky’s Histoire du Soldat in February 2007 with the Sapphire Chamber Consort as part of their Russian Tales program and in May 2008 sang the premiere of two song cycles by composers James Patrick Miller (DMA, conducting) and Paul Fraser, also in collaboration with Sapphire. In February 2007 she conducted the premiere of Dawn Lenore Sonntag’s (DMA, voice/composition) La Corona for soprano and chamber ensemble.

Miller appeared as a soloist in a performance of Maurice Duruflé’s Requiem at Grace University Lutheran Church. In May, Miller was awarded a Graduate Research Partnership Program Fellowship to work with Craig Kirchhoff on her project Ithaca and the Winds: The Influences of Ten Personalities on Wind and Percussion Music from 1979-2009.

James Patrick Miller (DMA candidate, conducting, student of Craig Kirchhoff ) led the Sapphire Chamber Consort in performances in February 2007 and May 2008, premiering three commissioned works for soprano and chamber ensemble. He also collaborated with new music ensemble Zeitgeist in February 2007, conducting a performance of several scenes from Douglas Geers’ new opera Calling during the 2008 Spark Festival. In May, Miller was awarded a Graduate Research Partnership Program Fellowship to work with Craig Kirchhoff on his project Ithaca and the Winds: The Influences of Ten Personalities on Wind and Percussion Music from 1979-2009. Miller was also recently appointed as visiting instructor at Gustavus Adolphus College where he will conduct two concert bands and teach conduct24 14

school news music.umn.edu

Joomi Park (PhD candidate, composition, student of Alex Lubet) won the 2008 Beethoven Club Student Composition Contest for her piece Two O’Clock. This contest was offered in conjunction with the Belvedere Chamber Music Festival, held in June in Memphis, TN, where Park’s piece was performed. As winner of the competition, she was invited to the International Summer Academy of Music, held in Michaelstadt, Germany in August 2008.

Woobin Park (DMA candidate, piano, student of Lydia Artymiw) performed the Grieg Piano Concerto with the Linden Hills Chamber Orchestra in March 2008 under the direction of Yuri Ivan (DMA, 2008, conducting) in Edina, MN. Laura Perkett (BM candidate, oboe, student of John Snow) won second place in the collegiate and graduate level woodwinds and brass division of the 2008 Schubert Club Scholarship Finals.

Adam Rappel (MM candidate, percussion, student of Fernando Meza) performed with the Youth Orchestra of the Americas in Brazil, Uruguay, and Argentina in the summer of 2008.

Joshua Rohde (BM candidate, cello, student of Tanya Remenikova) won second place in the

RenegadeEnsemble was granted federal taxexempt status. The group features Stanley H. Rothrock, II (DMA candidate, conducting, student of Kathy Saltzman Romey), Zachary Crockett (PhD candidate, composition, student of Doug Geers), Alyssa Anderson (DMA, 2008, voice, student of Wendy Zaro-Mullins), Erik Barsness (BM, 2001, percussion, student of Fernando Meza), David Birrow (MM, 2007, percussion, student of Fernando Meza), Matthew McCright (DMA, 2004, piano, student of Lydia Artymiw), Paul Schimming (DMA, 2008, clarinet, student of Burt Hara), and Jennifer Wilhelms (MM, 2005, flute, student of Immanuel Davis). The ensemble received their first grant from the American Composer’s Forum through the Encore Program.

Zachary Saathoff (BM candidate, violin, student of Sally O’Reilly) won first place in the collegiate level violin division of the 2008 Thursday Musical Young Artist Scholarship.

Saathoff won third prize in the Music Teachers National Association’s Collegiate Artist String Competition in Denver, CO, in March 2008.

Justin Schwarz (MM candidate, oboe, student of John Snow) was selected as one of four winners of the Central Wisconsin Symphony Orchestra 2008/2009 Fanfare Competition Contest. His piece is tentatively scheduled for the CWSO February 2009 concerts.

Daniel Segura (BA candidate, voice, student of Barbara Kierig) won first place in the collegiate level intermediate voice division of the 2008 Thursday Musical Young Artist Scholarship.

Leah Siltberg (DMA candidate, collaborative piano, student of Timothy Lovelace and Noriko Kawai) accepted an invitation to attend the Music Academy of the West Summer Festival in Santa Barbara, CA. Siltberg will be a fellow in the collaborative piano program, which is under the direction of Juilliard professor Jonathan Feldman.

Dawn Sonntag (DMA candidate, voice/composition/choral conducting, student of Wendy Zaro-Mullins) has accepted a position as assistant professor of music at Hiram College in northeastern Ohio where she will head the Music Theory and Composition program.

Sonntag also received a fellowship from the American-Scandinavian Foundation to take an independent study course of Norwegian vocal music in Norway over the summer.

Andrew Staupe (DMA, piano, student of Lydia Artymiw) performed at the Holland Music Sessions in Bergen in August 2008. See page 12 for feature story.

Tyler Wottrich (BM candidate, piano, student of Lydia Artymiw) and Rolf Haas (BM candidate, violin, student of Sally O’Reilly) performed at Northrop Auditorium with the State Ballet of Georgia (Russia) in March. They played Stravinsky’s Duo Concertante, and Wottrich performed a solo piece, Bizet’s Chromatic Variations.

I.J. Yarison (MA candidate, composition, student of Alex Lubet) won third prize in the 2008 ArtSounds Music Composition Competition for the piece Greenwoods, based on the original artwork Nordfeldt’s Green Woods.

Alumni News

‘83

Mark Lammers (PhD, student of Edgar Turrentine) worked in the five Nordic countries in August and September 2006 through a grant by the Nordic Cultural Fund to update his book, Nordic Instrumental Music for Colleges and Universities, published in 1991 and released by the World Association of Symphonic Band Ensembles (WASBE) online in 2005. Since beginning the work in 1987, he has perused nearly 15,000 scores in the countries of Iceland, Norway, Sweden, Finland and Denmark. Lammers continues as research professor at Gustavus Adolphus College in Saint Peter, MN where he studies musical expertise as well as related subjects.

He is an active professional trombonist in the Tucson, AZ area.

‘88

Sondra Wieland Howe (MA, 1985/ PhD, 1988) has been appointed to the Editorial Board of the Journal of Research in Music Education. She recently published a review of Wilfried Gruhn’s Geschicte der Musikerziehung in the Journal of Historical Research in Music Education (October 2006). She presented a paper on “American Music Textbooks in the Mason-McConathy Collection” at the March 2007 conference of the Society for American Music in Pittsburgh. At Keokuk II: The MENC Centennial History Symposium in Keokuk, Iowa, (June 2007) she organized a concert for the centennial and participated in a panel on “The Role of Radio in Music Education.”

‘93

Monthian Buntan (MA, theory/ composition, student of Alex Lubet) has been elected Senator in Thailand.

‘95

Anne Kilstofte (PhD, composition) presided over the Beijing International Congress of Women in Music April 2008 in Beijing, China. Her work, The Divine Lullaby, received its Chinese premiere at the Forbidden City Concert Hall performed by the

Chinese Opera Orchestra. She was also named Faith Partners Composer-in-Residence for a consortium commission through the American Composers Forum funded by the Otto Bremer Foundation for 2007/2008. Kilstofte has been working with two churches in this ecumenical residency, St. Mary’s Catholic Church and Vinje Lutheran Church in Willmar, MN. She is the president of the International Alliance for Women in Music and a member of the executive committee the Society of Composers, Incorporated.

’96

Juin-Ying Lee (DMA, violin) was appointed director of the Institute of Music at National Chiao Tung University in Taiwan. Juin-Ying is the founding violinist of Taiwan’s premier piano trio, Pro Arte Trio, which made its U.S. debut tour last spring.

’98

Young Kim (DMA, piano, student of Lydia Artymiw) performed the Gershwin Concerto with the Schenectady Symphony under the direction of Charles Schneider in April 2008. She is assistant professor of piano at the College of St. Rose in Albany, NY.

’00

Margaret McDonald (MM, piano, student of Lydia Artymiw) became assistant professor of collaborative piano at the University of Colorado, Boulder in 2007.

‘01

Jeri-Mae Astolfi (DMA, piano, student of Lydia Artymiw) performed solo recitals in more than nine major cities throughout the U.S. in 2008. She gave a presentation on Canadian piano music at the MMTA annual conference. Astolfi performed the Mozart Piano Concerto K. 503 with the Oshkosh Symphony. Her newest CD Chroma: New Music for Piano for Capstone Records Inc. was released in summer 2008 as part of the Society of Composers Performers Recording Series. She is assistant professor of piano at the University of Wisconsin, Oshkosh.

Edie Hill (MA, 1992/ PhD, 2001, composition, student of Lloyd Ultan and Judith Lang Zaimont) is a recent recipient of a Minnesota State Arts Board Artists Initiative Grant, in support of three new chamber works for the Arc Duo, Two Sides Sounding and a new electronic work for clarinetist Andy Lamy. Edie was also awarded a commission by Minnesota Voices, sponsored by the American Composers forum in celebration of Minnesota’s Sesquicentennial.

The work was premiered by the Minneapolis Youth Chorus under the direction of Patrice Arasim during the 2008 Minnesota State Fair.

Other recent commissions and residencies include works for the University of Michigan Men’s Glee Club under the direction of Paul Rardin, as well as the Rock Valley College Chamber Singers, Paul Laprade, director.

March 2008 saw the commission and premiere of a group of new works for St. Paul-based

new music ensemble Zeitgeist. In addition to Hill’s compositional output, she continues as Composer-in-Residence at The Schubert Club and runs the Composer Mentorship Program, which provides composition lessons, group discussions, and current music events to young high school composers from the Twin Cities.

Tzu-Ching Lin (DMA, piano, student of Lydia Artymiw) began a new teaching position at Tzu-Chi University in Hualien Taiwan in 2008.

‘02

Los Angeles flutist Gregory Milliren (BM, flute, student of Julia BogoradKogan and Immanuel Davis) won second prize in the National Flute Association Young Artist Competition. The National Flute Association’s Young Artist Competition­—open to flutists worldwide who are age 30 or younger—was held at the NFA convention in Albuquerque.

The new work commissioned for this year’s competition was by Japanese composer Toshio Hosokawa. Milliren also received his master of music degree in May from the University of Southern California where he studied with Jim Walker. He is a freelance flutist in Los Angeles and plays principal flute with the American Youth Symphony and performs with Definiens Ensembles.

Ryan Truesdell (BM, Music Education) was commissioned by the New York Youth Symphony to write a new work for the New York Youth Symphony’s Jazz Band Classic as part of their First Music program’s 25th season. The piece will receive its world premiere in May 2009 at Jazz at Lincoln Center in New York City.

Kirsten Volness (BA, music, student of Judith Lang Zaimont) has been named the winner of the BMI Foundation’s Second Annual Women’s Music Commission and created a new work premiered by the Colorado Quartet at Symphony Space in New York City in May 2008. She also won second prize in the 2007 SEAMUS/ASCAP Student Commission Competition and presented a new electroacoustic work at the annual conference in Salt Lake City in April 2008.

‘04

Michael Heaston (MM, collaborative piano, student of Margo Garrett and Timothy Lovelace) returned to Glimmerglass Opera for the 2007 Festival Season, where he served as both co-director of the prestigious Young American Artists Program and principal coach of the Gluck/Berlioz Orphée et Euridice. In addition to further recital appearances with internationally-acclaimed mezzo soprano Katharine Goeldner, he also joined the music staff of The Dallas Opera for the 2007/2008 season, preparing productions of The Merry Widow, Salome and Porgy & Bess.

school news music.umn.edu

25 19

‘05

Corey Hamm (DMA, piano, student of Lydia Artymiw) will be performing Rzewski’s The People United in approximately twenty-five concerts throughout the U.S. and Canada beginning May 2008. He is assistant professor of piano at the University of British Columbia in Vancouver, Canada.

Wonny Song (DMA, piano, student of Lydia Artymiw) had solo recitals and residencies at Iowa State University, Clemson University, the MacComb Centre, Music Toronto, Theatre Hector Charland, and the “Seasons” in Yakima.

Orchestra appearances included the Metropolitan Orchestra of Greater Montreal, the Naples (FL) Symphony, the Tulsa Community College Orchestra, the Extremadura Symphony (Spain), and the St. Luke’s Chamber Orchestra. He was one of six Canadian pianists who performed five of Bach’s Goldberg Variations in concert and live on CBC and web broadcast in 2007.

His chamber music performances included duo recitals with Alexandre da Costa and Frederic Pellassy throughout Canada. He began a teaching appointment at the Lambda School for Music and the Fine Arts in Montreal in summer 2008.

Christine Taylor (MM, flute, student of Immanuel Davis) was appointed a lecturer in music at the University of Arkansas-Fort Smith for the 2007/2008 school year. This position was created following her successful completion of a semester of adjunct teaching and a semester as visiting instructor at the same school in 2006/2007. She taught courses in flute, class piano, music appreciation, and humanities through the arts.

‘06

Chi-hua Cheng (DMA, voice, student of Jean del Santo) received a full-time position at the Taipei National University of the Arts. She will teach applied voice and voice related classes.

Ben Duane (MA, theory/musicology, student of Matthew Bribitzer-Stull) presented his paper, Bass Pedal Points and Schema-Based

Segregation: A Study of 43 Common-Practice Excerpts, at the Society for Music Perception and Cognition national meeting in Montreal in August 2007.

Marcia L. Thoen (PhD) presented a paper titled Early Twentieth Century Orchestra Education Outreach in Minneapolis: Young People’s Symphony Concert Association and the Repertoire Programmed and Conducted by Emil Oberhoffer 1911-1922. The research paper was one of 22 papers and panels presented at the Keokuk II Symposium held in Keokuk, IA, in May and June 2007. The Symposium commemorated 100 years of MENC (the Music Educators National Conference). Thoen also participated as an accordion accompanist for the traditional noon luncheon sing-a-longs in June in Keokuk.

Thoen presently teaches instrumental music at Wayzata West Middle School, District #284, in Wayzata, MN.

‘07

David Birrow (MM, percussion, student of Fernando Meza) performed with the Youth Orchestra of the Americas in Brazil, Uruguay, and Argentina in summer 2008.

Seongwon Han (DMA, piano, student of Lydia Artymiw) began several new teaching positions in Taegu, Korea in March 2008 at Kyung-Buk National University, Taegu National University, and the Taegu High School for the Performing Arts. She is teaching piano, theory, and music history.

Noah Keesecker’s (MA, composition, student of Doug Geers and Adam Greene) work Anxiety Dreams was featured in the Altered Esthetics exhibit at the Q’arma Building in winter 2008. He also joined the staff of St. Paul-based Springboard for the Arts as program manager. His work has recently been performed in Kansas City, Amsterdam, New York, and the 2008 Spark Festival, as well as upcoming performances in Belfast, Ireland.

In May he was awarded a 2008 McKnight Composer Fellowship.

K. Christian McGuire (MA, musicology, student of Donna Cardamone Jackson) presented excerpts from his thesis, Symphonia Caritatis: The Cistercian Chants of Hildegard von Bingen at the 43rd International Congress on Medieval Studies in Kalamazoo in May 2008. In May 2008, both he and President Harry Chalmiers represented the McNally-Smith College of Music at the 25th Anniversary of the International Society for Hildegard von Bingen studies at Chestnut Hill College in Philadelphia.

‘08

Jacob Jonker (MM, guitar, student of Jeffrey Van) has been appointed to the faculty in the Fine Arts Academy at the University of Minnesota, Duluth, where he will teach private classical guitar lessons and add a Suzuki guitar program to the curriculum.

Elliott Miles McKinley (PhD, composition, student of Doug Geers and Alex Lubet) accepted a position as assistant professor of music at Indiana University East in Richmond, IN. McKinley will teach theory and composition, as well as head the music department, developing and leading their music program. His appointment starts in fall 2008.

Donald Running (PhD, music education) has accepted a position at Bridgewater State College in Bridgewater, MA to begin in fall 2008. He will serve as director of bands and director of instrumental music education. He also presented a clinic for conductors at the Minnesota Music Education Association at their mid-winter in-service, “Muscular Intelligence, Not Muscle Memory.”

Ann Elise Schoenecker (DMA, voice, student of Lawrence Weller) has accepted the position of assistant professor of music at Viterbo University in LaCrosse, WI. She will teach song literature, diction, and applied voice to undergraduate music, music education, and music theater majors.

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Casul Time

Ferguson Hall Groundbreaking Fall 1983—Donald Ferguson, Laures Krenik, Ken Keller, and Darrell Lewis

1980

The Department of Music becomes the School of Music. The University Regents authorized the department’s new identity in 1980 to recognize the larger number of degrees and graduate programs. The Minnesota Legislature appropriated $15.9 million for a new music building—Ferguson Hall—in 1983.

1985

Ferguson Hall opens as the new home for the School of Music. Conductor Gunther Schuller gave the keynote address at Ferguson Hall’s inauguration. Ferguson Hall quickly became a national model among music facilities, with air-conditioning, 72 practice rooms with grand pianos, ample instructional and rehearsal spaces, a computer laboratory, a class piano laboratory, 126-seat lecture hall, and a 160-seat recital hall.

Information from Sounding, Conversations Across 100 Years of Music.

Share your Univeristy of Minnesota School of Music Memories!

Send your Time Capsule submissions to mus-ppr@umn.edu.

Fall 2008 Events Calendar Events are free and open to the public unless otherwise noted.

September

October

≠ Guest Master Class:

≠ Musicology/Music Theory

Leon Fleisher, piano

Made possible with the generous support from the School of Music, Schubert Club, MacPhail Center for Music and The Chamber Music Society of Minnesota.

Sat, Sept 13 • 3 pm Lloyd Ultan Recital Hall

≠ Leon Fleisher with

The Chamber Music Society of Minnesota Leon Fleisher performs four hand piano works by Schubert, Ravel, and Brahms with Katherine Jacobson and the Chamber Music Society of Minnesota.

With support from the Schubert Club.

Tickets: $25/$15 general public

Orchestra Matinee: Beethoven’s 4th Piano Concerto Featuring Pierre-Laurent Aimard, director and piano. Program includes works of Ives, Ravel, Debussy and Beethoven.

≠ Roundtable: “Conversations on the

David Baldwin, trumpet Mon, Sept 15 • 7:30 pm Lloyd Ultan Recital Hall

Future of Music and Sound Studies”

≠ Guest Master Class: Sharon Isbin, guitar Tues, Sept 16 • 7 pm Lloyd Ultan Recital Hall

≠ Faculty Recital and Friends of

the Northrop Organ Fundraiser: Dean Billmeyer, organ Tues, Sept 23 • 7:30 pm Northrop

≠ Northrop Jazz: Charlie Haden’s

Liberation Music Orchestra with Special Guest Carla Bley Co-presented with Walker Art Center.

Tickets: $40/$30 for UM staff & faculty/ $10 UM student while available.

612/624-2345 or northrop.umn.edu Sat, Sept 27 • 8 pm Ted Mann Concert Hall

For up-to-date information about School of Music events, visit

≠ The Saint Paul Chamber

651/291-1144 or thespco.org Sun, Oct 5 • 2 pm Ted Mann Concert Hall

≠ Faculty Recital:

More than 400 free events a year

With Joseph F. Tompkins (Center for Cultural and Literary Studies, UM).

Co-sponsors: Institute for Advanced Study and the Center for Cultural and Literary Studies. Lunch provided.

Thurs, Oct 2 • 11:30 am Ferguson Hall, Room 205

Tickets: $11-$49/$5 kids

651/450-0527 Sun, Sept 14 • 4 pm Ted Mann Concert Hall

PLEASE NOTE Events are subject to change or cancellation. Events may be added during the course of the semester. This brochure does not list the numerous free student recitals presented each week. For an updated and complete events calendar, visit our website at music.umn.edu or call 612/62-MUSIC.

Colloquium: “Noise in American Horror Films,” Frank Hentschel (University of Giessen)

Roundtable with Christian Thorau (Hochschule für Musik und Darstellende Kunst, Frankfurt) and Frank Hentschel (University of Giessen, Germany).

Moderated by Sumanth Gopinath.

Lunch provided.

Mon, Oct 6 • 12 pm Ferguson Hall, Room 280

≠ Wind Ensemble Music for Winds and Organ including works of Marcel Dupre, Percy Grainger, Ron Nelson, and David Maslanka.

Tues, Oct 7 • 7:30 pm Ted Mann Concert Hall

≠ Symphony Orchestra Program includes Stravinsky’s Le Baiser de la Fée (The Fairy’s Kiss): Divertimento; Beethoven’s Piano Concerto No. 5 (Emperor) featuring Paul Shaw, piano; and Prokofiev’s Excerpts from Romeo and Juliet.

Fri, Oct 10 • 7:30 pm Ted Mann Concert Hall

music.umn.edu

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Ferguson Hall and Ted Mann Concert Hall are located on the University of Minnesota’s West Bank Campus. Lloyd Ultan Recital Hall is located within Ferguson Hall.

Ted Mann Concert Hall is adjacent to Ferguson Hall.

From Eastbound I-94

Convenient parking is available at the 19th Avenue and 21st Avenue parking ramps; you must pay a fee to park in these ramps. More information may be found at: umn.edu/pts/publicparking.htm

From Westbound I-94

Take the Riverside exit. Turn left on 25th Avenue, then left again on Riverside Avenue. Take Riverside to 21st Avenue South, turn right, and then left into the 21st Avenue parking ramp.

Take the Riverside exit. Turn right on Riverside Avenue. Take Riverside to 21st Avenue South, turn right, and then left into the 21st Avenue parking ramp.

Ri

ve

r

P

From Northbound I-35

Follow I-35W south to the University Avenue/4th Street exit.

Turn right at the first set of lights, 4th Street. You will be heading north.

Take a left on Central Avenue and cross the Mississippi River. Take another left onto Washington Ave. Follow until it curves right onto Cedar. From Cedar, turn left on Riverside Avenue, and left again onto 21st Avenue South. Turn left into the 21st Avenue parking ramp.

From Southbound I-35

Take the U of M West Bank exit.

Turn left on Washington Avenue, which veers to the right into Cedar Avenue. From Cedar turn left on Riverside Avenue, and left again to 21st Avenue South. Turn left into the 21st Avenue parking ramp.

≠ Symphonic Band:

The Old and New America Featuring American composers, both old and new, with works by Charles Ives, Vincent Persichetti and Eric Whitacre.

Program includes flute professor, Immanuel Davis, performing Kent Kennan’s Night Solioquy.

Wed, Oct 15 • 7:30 pm Ted Mann Concert Hall

≠ Guest Concert:

International Saxophone Quartet Wed, Oct 15 • 7:30 pm Lloyd Ultan Recital Hall

≠ Jazz Ensemble I: Two Drum Heads are Better Than One

Featuring Jazz Ensemble I and drummers Andy Heglund and Phil Hey. Thurs, Oct 16 • 7:30 pm Ted Mann Concert Hall

≠ Collage Concert Featuring more than 300 students and faculty performing in a musical extravaganza! Special guest Minnesota Orchestra Music Director Osmo Vänskä will conduct the Univeristy Symphony Orchestra.

Sat, Oct 18 • 7:30 pm Ted Mann Concert Hall

≠ The Kenwood Symphony Opera and Ballet Promenade

Featuring the University Opera Theatre and the Metropolitan Ballet, Minneapolis/St. Paul Sun, Oct 19 • 3 pm Ted Mann Concert Hall

≠ Campus Band and University Band Mon, Oct 20 • 7:30 pm Ted Mann Concert Hall

≠ Faculty Recital:

Dean Sorenson, trombone and Phil Hey, drums “A Message From Art” Mon, Oct 20 • 7:30 pm Lloyd Ultan Recital Hall

≠ Symphony Orchestra

Concerto Competition Wed, Oct 22 • 10 am-5 pm Ted Mann Concert Hall

≠ Campus Orchestra Thurs, Oct 23 • 7:30 pm Ted Mann Concert Hall

≠ 2008 Saxophone International Master Class Guest Recitals Thurs, Oct 23 • 7:30 pm Fri, Oct 24 • 7:30 pm Sat, Oct 25 • 4 pm Lloyd Ultan Recital Hall Sat, Oct 25 • 7:30 pm Location TBA

≠ A Sonic Blockbuster:

Music for Organ, Wind Ensemble, and Percussion Ensemble Featuring the Wind Ensemble and Percussion Ensemble. Guest organists include Michael Barone, Dean Billmeyer, Bill Chouinard, and John Walker.

Program includes works by Reed, Dupre, Nelson, Harrison, Grainger, Maslanka, and others.

Fri, Oct 24 • 7:30 pm St. Andrews Lutheran Church

≠ Faculty Recital:

Rebecca Payne Shockley, piano with guest pianists Dorothy Payne and Karl Payne Program includes solo and ensemble works by Bach, Benjamin, Cimarosa, Debussy, Foote, Gliere, and Grainger.

Sat, Oct 25 • 7:30 pm Lloyd Ultan Recital Hall

≠ Jazz II and III Mon, Oct 27 • 7:30 pm Ted Mann Concert Hall

≠ Faculty Lecture: James Dillon’s The Book of Elements

Presented by Michael Cherlin with Noriko Kawai.

Tues, Oct 28 • 7:30 pm Lloyd Ultan Recital Hall

≠ James Dillon’s

The Book of Elements with Noriko Kawai, piano North American premiere of James Dillon’s The Book of Elements, Noriko Kawai piano. Pre-concert discussion by James Dillon with Michael Cherlin at 7 pm.

Wed, Oct 29 • 7:30 pm Ted Mann Concert Hall

November

≠ Chamber Singers with Special Guest: RenegadeEnsemble Sat, Nov 1 • 8 pm Lloyd Ultan Recital Hall

≠ Alumni Recital:

Anatoly Larkin, piano Sun, Nov 2 • 3 pm Lloyd Ultan Recital Hall

≠ Fall Opera—Benjamin Britten’s The Rape of Lucretia

Tickets: $20/$10 UM students with ID. 612/624-2345 or tickets.umn.edu.

Thurs, Nov 6 • 7:30 pm Fri, Nov 7 • 7:30 pm Sat, Nov 8 • 7:30 pm Sun, Nov 9 • 1:30 pm Ted Mann Concert Hall

≠ 47

Annual Marching Band Indoor Concert th

Tickets: $18 adults/$15 for 12 and under/$14 groups of 15 or more 612/624-2345 or tickets.umn.edu.

Sat, Nov 15 • 7 pm Sun, Nov 16 • 3 pm Northrop

≠ VocalEssence:

Remembrance & Hope Featuring Lawrence Siegel’s new work, Kaddish: Music of Remembrance and Hope.

Tickets: $40/$30/$20 (student & group discounts available) 612/371-5656 or 800/292-4141 or www.vocalessence.org/kaddish Sat, Nov 15 • 8 pm Ted Mann Concert Hall

≠ The Saint Paul Chamber

Orchestra Matinee: Landscapes of the Americas Featuring Miguel Harth-Bedoya, conductor and Terence Wilson, piano.

Featuring the works of Martínez Y Compañón, López, Frank, Ives, VillaLobos, and Gershwin.

Tickets: $11-$49/$5 kids 651/291-1144 or thespco.org Sun, Nov 16 • 2 pm Ted Mann Concert Hall

≠ Chamber Singers, Concert Choir, and Wind Ensemble

Mass in E Minor by Anton Bruckner www.stagnes.net Sun, Nov 16 • 4 pm Saint Agnes Catholic Church 548 Lafond Avenue, St. Paul, MN 55103

≠ Guest Master Class:

Scott Anderson, trombone Featuring Scott Anderson, professor of trombone, University of Nebraska, Lincoln Mon, Nov 17 • 3:35 pm Lloyd Ultan Recital Hall

≠ Trombone Choir Featuring guest soloist Scott Anderson, professor of trombone, University of Nebraska, Lincoln Wed, Nov 19 • 7:30 pm Lloyd Ultan Recital Hall

≠ Bergen Woodwind Quintet Thurs, Nov 20 • 7:30 pm Ted Mann Concert Hall

≠ Guitar Ensemble Fri, Nov 21 • 4 pm Lloyd Ultan Recital Hall

≠ Greater Twin Cities Youth Symphony (GTCYS)

GTCYS’ premiere symphony orchestra presents its first full concert of the year under the direction of artistic director Amir Kats.

Tickets: $13/$7 612/870-7611 or www.gtcys.org Sun, Nov 23 • 2 pm Ted Mann Concert Hall

≠ Trumpet Ensemble Concert with the Metropolitan Symphony Orchestra, William Schrickel, conductor. Featuring music

by Richard Strauss, Leos Janacek and David Marlatt.

Sun, Nov 23 • 7:30 pm St. Olaf Catholic Church, Minneapolis

≠ Wind Ensemble with Concert Choir and Chamber Singers

Program includes Joseph Schwantner’s Music of the Soul..... and The Mountains Rising Nowhere, Anton Bruckner’s Mass in E Minor, David Maslanka’s Symphony No. 4 Tues, Nov 25 • 7:30 pm Ted Mann Concert Hall

≠ Presentation, Recital, and

Friends of the Northrop Organ Fundraiser: Laura Edman, organ Presentation on the History of the Northrop Auditorium Organ Tues, Nov 25 • 7:30 pm Northrop

≠ Apollo Male Chorus Holiday Concert

The annual Apollo Male Chorus holiday concert includes a mix of traditional seasonal music, with contemporary favorites. Featuring the acapella quartet 4given.

Tickets: $24/$18/Group discounts and student discounts are available.

≠ New Music Ensemble Sun, Dec 7 • 4 pm Weisman Art Museum

≠ Symphony Orchestra Program includes Barber’s Symphony No. 1 in One Movement, Op. 9; the Swan Competition Winning Piece (TBD); and Brahms’s Symphony No. 4 Mon, Dec 1 • 7:30 pm Ted Mann Concert Hall

≠ Jazz II and III

≠ Gospel Choir Sun, Dec 7 • 7 pm Ted Mann Concert Hall

≠ Jazz Ensemble I: Brass Attacks Featuring Charles Lazarus, trumpet.

Mon, Dec 8 • 7:30 pm Ted Mann Concert Hall

≠ Campus Orchestra

Mon, Dec 1 • 7:30 pm The Whole Music Club Coffman Memorial Union

≠ Wind Ensemble Chamber Music Tues, Dec 2 • 7:30 pm Ted Mann Concert Hall

Wed, Dec 10 • 7:30 pm Ted Mann Concert Hall

≠ Twin Cities Gay Men’s Chorus: Peace

≠ Symphonic Band:

British Landscapes Program includes wind band and chamber wind classics from Britain.

Ralph Vaughan Williams, Gustav Holst, and Gordon Jacob will be featured.

Wed, Dec 3 • 7:30 pm Ted Mann Concert Hall University Band Thurs, Dec 4 • 7:30 pm Ted Mann Concert Hall

Fri, Dec 5 • 4 pm Lloyd Ultan Recital Hall

952/933-6322 or apollomalechorus.com Sat, Dec 6 • 7 pm Ted Mann Concert Hall

December

≠ Campus Band and

≠ Piano Ensembles

TCGMC’s holiday concert features odes such as Peace like a River and Holly Near’s The Great Peace March, Ralph Vaughan Williams’ Dona Nobis Pacem (Give us peace).

Tickets: season ticket packages available; individual tickets available for purchase after Sept 15.

612/624-2345 or tcgmc.org Fri, Dec 12 • 8 pm Sat, Dec 13 • 8 pm Sun, Dec 14 • 2 pm Ted Mann Concert Hall

≠ Sounds of the Season Featuring the Women’s and Men’s Choruses, Concert Choir, and Chamber Singers Fri, Dec 5 • 7:30 pm Ted Mann Concert Hall

More than 400 free events a year

For up-to-date information about School of Music events, visit

music.umn.edu

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